[NEohioPAL] Berko review: SONDHEIM ON SONDHEIM @ Hanna Theatre

[Roy Berko]

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Disappointing SONDHEIM ON SONDHEIM at Hanna Theatre



Roy Berko

*(Member, American Theatre Critics Association & Cleveland Critics Circle)*



In the self-revealing probe of his life, principles, writing philosophy and
revelations about musical theatre, Stephen Sondheim, in both of his
recently published books, *FINISHING THE HAT* and *LOOK, I MADE A
HAT*explains that “content dictates form,” “less is more,” and that
“theater
lyrics are not written to be read but to be sung.”  He illustrates how a
writer’s philosophy, life experiences and beliefs are revealed in what he
writes about and the way in which he expresses his ideas.



Stephen Sondheim, with few exceptions, writes musical dramas.  He usually
takes on serious subjects—the inability to make commitments (COMPANY),
revenge (SWEENEY TODD THE DEMON BARBER OF FLEET STREET), false illusions
(FOLLIES), world issues (PACIFIC OVERTURES), haunted souls (SUNDAY IN THE
PARK WITH GEORGE), misguided motivations (ASSASINS).



What’s surprising about Sondheim’s approach is that he was a protégé of
Oscar Hammerstein II, who was among the kings of musical theatre.  His
productions often had an undercurrent of comedy, while stressing homey
community centered themes, with a philosophical message.



Early in life, following the divorce of his parents, and his mother’s
realization that she did not want to be a parent, Stephen was turned over
to Hammerstein’s, who were family friends, for tutelage.  Hammerstein,
according to Sondheim, taught him most of what he knows about music and
musical theatre.



With this background in mind, I went to see the co-produced PlayhouseSquare
and Great Lakes Theatre, SONDHEIM ON SONDHEIM THE REVIEW OF A LIFETIME,
with great anticipation.  It would make the written words of the Sondheim
books live….make the lyrics soar, make the story vivid by hearing the great
man in his own words.



In general, what a disappointment.  Yes, Sondheim was there.  But, instead
of the chronological development of his books, the ideas jumped around with
no organizational format, sometimes repeating themselves.  The staging
lacked the dynamic quality of Sondheim’s ideas.  The singing was mediocre.  The
vocal blendings were sometimes off.  The orchestra often drowned out the
words to the songs…words that we must be able to clearly hear.  The
choreography was often flat.  The cast sometimes looked like they were
walking through their numbers with little joy or pizzazz.  They often sang
words, not meanings.  Articulation was sometimes mushy.   Hopefully I saw
the show on an off night and during the rest of the run some of these
issues don’t rear their ugly heads.



There were some highpoints, beyond hearing Sondheim explain himself and his
works.  Production numbers such as *A Weekend in the Country*, *The Best
Things That Ever Happened*, and *Losing My Mind* were successful.  The
humor highlight was a YouTube compilation of various people, from the
famous (Frank Sinatra, Barbra Streisand and Liz Taylor) to unknowns, doing
their renditions of *Send in the Clowns.  *The setting, a series of white
levels, lent itself well to the free flowing staging.  A number of gold
frames were effectively used to place visual borders around the action and
to create a screen for the Sondheim video clips.



But these were balanced off by the indistinguishable lyrics in *Getting
Married Today*, the questionable interpretation of *Happiness*, and the
less than funny, usually hysterical, *Comedy Tonight*.



How could this be?  Thirteen months was spent putting the script together
and getting permissions to produce the piece.  It incorporated the work of
James Lapine, long time Sondheim collaborator.  There were all the hours of
Sondheim interview tapes.  Over 1200 performers were auditioned in
Cleveland and New York.  Victoria Bussert, the reigning local queen of
directors and a nationally recognized theatrical wizard staged the
show.  Matthew
Webb, an accomplished musical director was on staff.  Gregory Daniels, who
has a proven record as a choreographer, planned the dancing.



As a friend who I spoke to following the show stated, “I was bored and
frustrated with the level of performances and lack of focus.”  Whatever the
reason for the derailment, it led to a less than standout evening of
theatre.

* *

*CAPSULE JUDGEMENT:  SONDHEIM ON SONDHEIM, in its regional premiere, was a
major disappointment. I wanted so much to be involved, to be excited, to
gain a further appreciation of the “amplifications, dogmas, harangues,
anecdotes and miscellany” that makes Sondheim Sondheim.*



Tickets for SONDHEIM ON SONDHEIM, which runs through July 8 at the Hanna
Theatre, a joint production of PlayhouseSquare and the Great Lakes Theatre,
can be ordered by calling 216-241-6000 or going to www.playhousesquare.org.

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